Tag Archives: stephen allred

Little Women: the musical

One of my favourite parts of the experience of watching the musical Little Women last night was remembering bits of the story as I watched it happen on stage.  I didn’t love Louisa May Alcott’s book when I first encountered it, but I still read it over and over, like many girl-identified children of my era who read faster than my parents could drive me back to the library.   The best things about the book were Jo’s tomboyish-for-the-time outspokenness and determination, the genuine affection among the different sisters each with her own flaws, and the way the new-boy-next-door (lonely, orphaned, and probably with his own variations from gender norms of the culture) was welcomed and swept into their games and projects.  My least favourite parts of the book were the parts where Jo rejects Laurie’s romantic overtures but and then changes her previous plan of staying single when she gets to know Professor Bhaer.  I didn’t like the example of best friends and equals Jo and Laurie not being romantically suited, with all the March girls ending up with an older more powerful man (Jo with the Professor, Meg with Laurie’s tutor John, and Laurie finally getting engaged to Amy, the youngest of the sisters.)

The stage-musical version (book by Allan Knee, music by Jason Howland, lyrics by Mindi Dickstein) and the Foote in the Door production currently playing at L’UniThéâtre enhance all the good things I remembered about the book and make the things I disliked less objectionable.  The sisters are wonderful together, different from each other but protective of each other and of their mother.  Alyssa Paterson is the oldest, responsible Meg, Ruth Wong-Miller is ambitious and impulsive Jo, Fiona Cain is kind frail Beth, and Natasha Mason is Amy, the whiny youngest at the start of the book who is transformed for the better when Aunt March (Stephanie Sartore) takes her to Europe and guides her into well-off cultured society, with enough money to pursue her interests.  I found it very easy to believe that Jo didn’t care about clothes and the rest of the family didn’t have money to spend on fancy ones, but I was still fascinated to see them take for granted movement in hoop skirts (including stomping  up and down stairs, sitting gracefully on the floor (Meg) and falling in a pretend tragic-death (Jo).  The costumes also fitted with a bit I remembered about Alcott herself being of dress-reform convictions and the March family not putting the girls in corsets.   Wong-Miller is well cast as Jo and has a strong singing voice.  Carolyn Ware (most recently Nettie in Carousel) is lovely as Marmee and Stephanie Sartore is very funny as both Aunt March and the boarding house landlady Mrs. Kirk.

Amy and Aunt March

Natasha Mason, as Amy, and Stephanie Sartore, as Aunt March, in Little Women. Photo credit Nanc Price.

The men in the show helped to reconcile me to the romantic pairings I had been irritated by as a teenager, too.  Stephen Allred as Laurie was an eccentric boy whose life was definitely improved when the March sisters took him in, and then a kind young man who immediately took no for an answer when Jo turned him down.   And although young me had disliked the book version of Professor Bhaer as old, boring, and bossy, Dave Smithson plays him with self-aware humour and without dominating body language.  The script says that he’s thirty-four (not so old), his literary critique of Jo’s stories seems more respectful in the stage version, and their engagement/future plan doesn’t feel like Jo abandoning her own goals for his, but as “give me a task!”-Jo moving on to a new challenge and Fritz embracing it.   Bob Klakowich is fun to watch as Laurie’s grieving and cranky grandfather transforms to shy Beth’s gentle benefactor and the proud supporter of Laurie and Amy’s wedding.  Adam Sartore’s part as John Brooke is small and less memorable, but the scene where he and Meg first meet is charming.

One pleasant surprise for me was the scenes from Jo’s imagination, in which the other actors perform as characters from her stories.  I loved how the sketches showed the maturing of her literary vision and ended up with a tale that was both credible as adventure a newspaper editor would pay for and satisfying to modern feminist sensibilities.  Fight choreography is credited to Chance Heck.

I liked the show a lot.  The pacing was good, some of the music was earworm-memorable, and the simple set (Leland Stelck’s design) worked for the various locations needed (the family parlour, Jo’s garret, the boarding house, Aunt March’s house, and outdoors. )  Trish Van Doornum directed and Daniel Belland was music director.

Little Women plays tonight, tomorrow afternoon, and Wednesday to Saturday next week (Nov 8-11) at L’UniThéâtre.  Tickets are available through both Tix on the Square and EventBrite, and there should be some at the door.

And now I think I will read the book again.

Alcott novels

The copies of Little Women and Little Men that my mother received for Christmas in 1945.

Five for one!

Laurie (Stephen Allred) pledges friendship and loyalty with the March sisters, Amy (Natasha Mason), Jo (Ruth Wong-Miller), Beth (Fiona Cain), and Meg (Alyssa Paterson). Photo credit Nanc Price.

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More performance genres at Fringe 2017

Note:  I don’t know why the caption isn’t showing up on my photo.  That’s Bethany Hughes from Evil Dead talking to the audience members seated in the Splash Zone. 

 

Animal Farm Treatment – I have never studied, read, or seen any version of George Orwell’s novel Animal Farm, but as with Sartre’s No Exit, I had a general idea of the theme and I knew one line.  During Animal Farm Treatment, a solo show by creator/performer Alice Nelson from Calgary, I wondered how it would appear to an audience member who didn’t know the expected outcome from the original cynical parable.  The playbill said that she has a study guide to accompany her show for high school audiences.  The performer skilfully switched among several speaking characters, using different physicalities and speech patterns as well as clues of having the characters refer to each other by name, and she used a few simple props to move the story forwards.  I knew that the experiment in democracy would not end well, but I kept hoping it would.  Two more shows, Friday 2:45 and Saturday 11:30 pm.

Evil Dead – Amanda Neufeld directed this lively, funny, gory musical, which is playing at L’Unitheatre.  Bethany Hughes stage managed, and in the picture above is reassuring the audience members in the Splash Zone.  Music is a four-piece instrumental group under the direction of Daniel Belland (also seen in Mormonic at this festival).  The narrative moves quickly through the tropes of horror fiction, the college students each with his or her own incentives to vacation at a lonely cabin (Matthew Lindholm, Jaimi Reese, Nadine Veroba, Stephen Allred, Josh Travnik), the eerie woods with limited access, the intrepid explorer returning from Egypt to finish her father’s work (Neufeld), the source of local knowledge Reliable Jake (Travnik), and the demons (uncredited here because that would give away some plot).  It’s very funny, and the songs are great. The action moves quickly and it’s over in 90 minutes as advertised.  Some tickets are available for tonight’s late show.

Puck Bunnies – This is another cleverly-scripted and poignant drag comedy in the spirit of Flora and Fawna’s Field Trip with Fleurette, from Guys in Disguise.  Darrin Hagen, Trevor Schmidt, and Jason Hardwick play the girlfriends of junior/minor-league hockey hopefuls, sharing support, gossip, and relationship troubles while in the bleachers for an intra-squad scrimmage.   Tammy, Tanya, and Tina are more than silly caricatures (although I have to say that the costumes are spot-on perfect), each with her own struggles.  The dramatic-irony part (where the audience knows something a character doesn’t realize) is great.  The gentle insertion of a more feminist awareness into a culture of “support the boys at all costs”, by Hardwick’s Tina, is credible and satisfying.  I last paid attention to this culture in the mid-90s, I found it disturbing and necessary to be reminded that, despite the pussyhat, some things have not changed.   Shows Friday, Saturday, and Sunday afternoons.

You Fucking Earned It – At last year’s inaugural Edmonton Clown Festival (now renamed Play the Fool, and running Sept 28-Oct 1 2017), in a panel discussion Deanna Fleischer (aka Butt Kapinski) pointed out that traditional bouffon was criticizing the king in front of the king, and she challenged performers using bouffon techniques to ask themselves “Is the king in the room?”  There are two key points in this.  One is to punch up – make fun of the powerful instead of the powerless.  The other is that if it’s good bouffon serving its purpose, nobody in the audience should feel comfortable and safe.  At the start of the performance of You Fucking Earned It (a Naked Empire Bouffon work featuring Cara McLendon and Sabrina Wenske, directed by Nathaniel Justiniano whom you might recall from You Killed Hamlet), I wondered whether the piece would succeed at the second point for an Edmonton audience, but it definitely did.  One more show, 2:45 today (Friday).

The show I’ve been working on, How I Lost One Pound, the Musical, also has one more show this festival, at 6:30 pm today in the Rutherford Room at the Varscona Hotel.  We are not sold out at the box office and I will have some tickets available at the door as well.  I’d love to show more people this quirky funny low-key narrative about a woman at mid-life.   Lesley Carlberg’s show will also be playing at Vancouver Fringe and at Guelph Fringe in October, if you miss it here.